cks) before releasing its second proper effort in 1971. The album “Tago Mago” introduced a new vocalist, Damo Suzuki, a twenty-one-year-old Japanese singer whom Liebezeit and Czukay saw busking outside a cafe in Munich. “I saw Damo from far away, and he was screaming and sort of adoring the sun,” Czukay told Bussy and Hall. “I said to Jaki, ‘Here comes our vocalist!’ and Jaki said, ‘No, no, it can’t be true!’” Suzuki was invited to that night’s performance. He began screaming at the audience and cleared the room in record time, thereby assuring his position in the band.

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Posted in duydum on January 5th, 2008 by na | | Comments Off on damo suzuki

Immediately after the suicide of Kurt Cobain, lead singer of the rock band Nirvana, last April, MTV broadcast almost continuously an hour-long "Unplugged" special that the band had recorded the previous fall. The final song on the program was unexpected: it was the only one not previously recorded by Nirvana or even written by an alternative rocker. Called "Where Did You Sleep Last Night," it had the cadences of an old ballad or blues tune and lyrics that Mr. Cobain’s deathly rasp made absolutely haunting.

In fact, the song was a folk song, usually known as "In the Pines," which dates back at least to the 1870’s. Its appearance in the repertory of a Seattle grunge singer is only the latest chapter in its complex history. (An album of Nirvana’s MTV concert, "Unplugged in New York," was recently released on the DGC label.) Those who have recorded the song include the folk legends Leadbelly, Joan Baez and Pete Seeger, the country pioneers Bill Monroe and Chet Atkins, the rockers Sir Douglas Quintet and Duane Eddy, the pop vocalist Connie Francis and the jazz saxophonist Clifford Jordan.

Even within alternative music, "In the Pines" has something of a history. Annette Zalinskas, formerly of the Bangles, recorded the song with her band Blood on the Saddle on 1986’s "Poison Love" album. Australia’s Triffids did a takeoff on "In the Pines." (The genre-crossing Beck used the phrase "in the pines" in doggerel he wrote for the booklet that accompanies his recent album "Mellow Gold.")

Researching the song for a 1970 dissertation, Judith McCulloh found 160 different versions, a finding that raises the question: Why does a song like "In the Pines" endure and permutate so insistently? The answer may be that its essence is not a specific story or even a musical style but the kind of intensely dark emotion that, as is the case with much in American music, survives longer in popular memory than does treacly sentiment.

The song probably has its origins in the Southern Appalachians, where it is still passed on as part of an oral tradition. The mystery writer Sharyn McCrumb says a college friend from Georgia taught her a verse that she used as a chapter heading in her 1992 novel, "The Hangman’s Beautiful Daughter." As she demonstrated in a telephone conversation, she can also sing a very different "Mitchell County, N.C." version that includes a reference to the local Clenchfield railroad line.

Dolly Parton, who performs a version on her recent album "Heartsongs" says: "The song has been handed down through many generations of my family. I don’t ever remember not hearing it and not singing it. Any time there were more than three or four songs to be sung, ‘In the Pines’ was one of them. It’s easy to play, easy to sing, great harmonies and very emotional. The perfect song for simple people."

In the 1981 book "Long Steel Rail: The Railroad in American Folksong," the music historian Norm Cohen notes that "In the Pines" has three frequent elements, not all of which always appear. There is the chorus "in the pines," a stanza about "the longest train I ever saw" and another verse in which someone is decapitated by a Train.

"The longest train" section probably began as a separate song, which merged with "In the Pines"; references in some renditions to "Joe Brown’s coal mine" and "the Georgia line" may date its origins to Joseph Emerson Brown, a former Georgia governor, who operated coal mines in the 1870’s. The earliest printed version was four lines and a melody compiled by Cecil Sharp in Kentucky in 1917. Another variant, mentioning the train accident, was recorded in 1925 by a folk collector onto cylinder, a precursor of the phonograph. The next year, commercial hillbilly recordings of "In the Pines" and "The Longest Train" began appearing.

How did Kurt Cobain discover "In the Pines"? Long before Nirvana’s rise, he and Mark Lanegan, leader of the Seattle rock group Screaming Trees, formed a friendship around a mutual love of Leadbelly. Mr. Lanegan owned a copy of the original Musicraft 78 rpm of "Where Did You Sleep Last Night" that Leadbelly recorded in 1944. "My father gave me the record when I was a kid," Mr. Lanegan says. "He was a schoolteacher, and he found in the attic of an old school a box of blues records." Mr. Lanegan and Mr. Cobain recorded an EP of Leadbelly tunes, but only "Where Did You Sleep" was released on Mr. Lanegan’s 1990 album, "The Winding Sheet," with Mr. Cobain playing guitar.

Although Leadbelly is credited with authorship of "Where Did You Sleep" on "The Winding Sheet" and Nirvana’s "Unplugged in New York," his own discovery of the song was almost as secondhand as that of the Seattle musicians. Alan Lomax, the folk music archivist and promoter, reported to Ms. McCulloh that Leadbelly learned parts of the song from someone who had taken it from the 1917 Sharp version and other parts from the 1925 cylinder recording.

For all its complicated history, the meaning of "In the Pines" may be even more blurry, a vast continuum of different varieties of misery and suffering. "This unique, moody, blues-style song from the Southern mountain country is like a bottomless treasure box of folk-song elements," wrote James Leisy in his 1966 book "The Folk Song Abecedary." "The deeper you dig, the more you find."

The basic elements of the song remain similar from version to version, but the context can be altered with a few words. It may be a husband, a wife or even a parent whose head is "found in the driver’s wheel" and whose "body has never been found." Men, women and sometimes confused adolescents flee into the sordid pines, which serve as a metaphor for everything from sex to loneliness and death. The "longest" train can kill or give one’s love the means to run away or leave an itinerant worker stranded far from his home.

In the bluegrass and country versions popularized by Mr. Monroe, the song’s eerie qualities are rooted in the genre’s "high lonesome" sound, with fiddles and yodeling harmonies used to evoke the cold wind blowing. Lyrics about beheading drop out, but the enigmatic train is almost as frightening, suggesting an eternal passage: "I asked my captain for the time of day/ He said he throwed his watch away."

In other versions, the focus is clearly, as the novelist Ms. McCrumb notes, on a confrontation: "There’s a woman doing something not socially acceptable, and she’s been caught at it." In one case, a husband demands: "Don’t lie to me; where did you sleep last night?" In their traditional interpretation, the Kossoy Sisters begin: "Little girl, little girl, where’d you stay last night? Not even your mother knows." Despite all the variations of "In the Pines," these questions are almost never asked of a man. The woman may also be asked, "Where did you get that dress, and those shoes that are so fine?" and the answer is "from a man in the mines, who sleeps in the pines."

In Mr. Jordan’s jazz version, recorded for Atlantic in 1965, the singer Sandra Douglass makes the meaning even more explicit, drawing on a later Leadbelly version known as "Black Girl." Here the woman is in the pines because her husband has died under the train, leaving her with little choice but prostitution. "You caused me to weep/ And you caused me to moan/ You caused me to leave my home," she sings, perhaps to the cruel fates, perhaps to the ghost of her husband.

When Hole, the band led by Mr. Cobain’s widow, Courtney Love, played in New York in September, the final encore was "Where Did You Sleep Last Night." The sense of ghosts was palpable: a widow singing a widow’s tune, biting as heavily into each "don’t lie to me" as her husband had. But the ghosts were already there in the Nirvana version, which looked at death square on — Mr. Cobain’s voice cracks and pauses during the final line, then soldiers through.

Nirvana’s "Where Did You Sleep" is so definitive that the stray ends of the history of "In the Pines" come together. Mr. Lanegan sang his version as a spectator might have, with a bit of a leer. "I like the blood and guts theme of it: betrayal and murder," he says now. But Kurt Cobain inhabits the place from which the song sprang. His voice mixes fatalism and placidity much as Leadbelly’s had 50 years before; one hears a folkish impassivity that may well have been found on the 1925 cylinder recording as well.

Mr. Cobain’s identification with female rockers, from Hole to the Raincoats, encompasses the trespassing woman of the tale. And his origins in the pines-stripped lumber town of Aberdeen, Wash., take in the "simple people" who, as Dolly Parton notes, have always turned this cry of anxiety into a source of strength. "In the Pines" will have other versions, of course. But there is really no need for anyone to ever sing it again.

Variations on a Theme

The folk song usually known as "In the Pines" dates back at least to the 1870’s. Here are three versions:

Black girl, black girl, don’t lie to me
Where did you stay last night?
I stayed in the pines where the sun never shines
And shivered when the cold wind blows.Lizzie Abner, 1917

The Longest train I ever saw
Went down that Georgia line
The engine passed at 6 o’clock
The cab passed by at 9.

In the pines, in the pines, where the sun never shines
And we shiver when the cold wind blows.

I asked my captain for the time of day
He said he throwed his watch away
A long steel rail and a short crosstie
I’m on my way back home.

Little girl, little girl, what have I done
That makes you treat me so?
You caused me to weep, you caused me to moan
You caused me to leave my home.Bill Monroe, 1952

My girl, my girl, don’t lie to me
Tell me, where did you sleep last night?
In the pines, in the pines, where the sun don’t ever shine
I would shiver the whole night through.

Her husband was a hard-working man
Just about a mile from here
His head was found in the driver’s wheel
But his body never was found.

My girl, my girl, where will you go?
I’m going where the cold wind blows
In the pines, in the pines, where the sun don’t ever shine
I would shiver the whole night through.Nirvana, 1993

http://www.newstatesman.com/200704160044

"…Cobain’s companion is Leadbelly, a favourite of folk aficionados who to this day perceive him as a giant of "black music", even though the vast majority of his fans were white. (When white producers brought Leadbelly to New York City in 1935 to play "traditional" music, Life magazine declared in a headline: "Bad Nigger Makes Good Minstrel".) Cobain’s swan song, performed on MTV’s Unplugged a few months before his suicide, was a cover of Leadbelly’s "Where Did You Sleep Last Night", about a woman who wanders into the woods after her husband is hit by a train. Cobain, so deep into the authenticity trap by then that he’d never escape, seemed to be making one last attempt not to "fake it", by reviving a song by his "favourite performer", and exiting the stage without an encore.

But Leadbelly, Barker and Taylor reveal, was by necessity a master of "faking it", a sophisticated musician of cosmopolitan taste limited to a repertoire of "Negro" songs and told by his manager to perform in prison garb. That manager was John Lomax, one of the early 20th-century giants of what has come to be known as "roots music". "The music that was, for Lomax, the most authentic," write the authors, "the most black, the most free from ‘white influence’, was the most primitive." That doesn’t mean Leadbelly was primitive, only that Lomax and, decades later, Cobain decided to believe that he was, the better to break the bonds of artificiality they felt modernity and celebrity imposed. Leadbelly was a tool. This shifty truth comes to us by way not of postmodernism, but of old-timey Marxist analysis. In 1937, the novelist Richard Wright, profiling Leadbelly for the Daily Worker, declared his coerced performances "one of the greatest cultural swindles in history".

But that’s not quite right, either. Wright recognised Lomax’s manipulation of Leadbelly (who later successfully sued Lomax), but he assumed there was a genuine Leadbelly behind the music, a real black expression minstrel-ised by the white man. In fact, many of Leadbelly’s songs came from white folks, who’d learned them from black musicians, who’d composed them with African inflections as reinterpreted by white musicians eager to add "floating" rhythms to the marching beat of Scots-Irish reels. The strongest argument of Faking It is for the endless "miscegenation" of music. Great popular music is always a collage of cultures, while the quest for authenticity all too often functions as a means of policing racial boundaries…"

Werner Meyer-Eppler, then the director of Phonetics at Bonn University, recognised the relevance of the machines to electronic music after Dudley visited the University in 1948, and used the vocoder as a basis for his future

Hi. I’m not home right now But if you want to leave a message Just start talking at the sound of the tone

Hello? This is your Mother Are you there? Are you coming home? Hello? Is anybody home?

Well, you don’t know me, but I know you. And I’ve got a message to give to you. Here come the planes. So you better get ready. Ready to go. You can come as you are, but pay as you go Pay as you go

And I said: OK. Who is this really? And the voice said: This is the hand, the hand that takes This is the hand, the hand that takes This is the hand, the hand that takes

Here come the planes They’re American planes Made in AmericaSmoking or non-smoking?

And the voice said: Neither snow nor rain nor gloom of night shall stay these couriers from the swift completion of their appointed rounds ‘Cause when love is gone, there’s always justice And when justice is gone, there’s always force And when force is gone, there’s always Mom

World, world – sister world World, world – sister world That is how our world is – transient. One is born – the other dies. World, sister world. The one who is born – celebrates life. The one who dies – turns to dust. World, sister world. World, world – sister world World, world – sister world You will never get tired of your mother and father. World, world – sister world And you will never be weary of your brothers and sisters – until you die. World, sister world

But the Romanian music scene in the nineties was dominated by Balkan pop and there was hardly any room for the old generation of the Lautari. The Gore Brother’s Band disintegrated after the death of Aurel Gore, and the incomparable Romica Puceanu died following a serious car accident in 1996 on her way home from a wedding performance….”Grit Friedrich

The Romanian DoinaBy Robert GarfiasThe folk song type known as doina is widespread throughout most of Romania. It may be related to and may even have its origins in the cintec de leagan, or lullaby. In order to better comprehend the vast number of variants which exist in Romania under the general name, doina, I compiled a short taxonomy of all the recorded doine in my collection, including my original field tapes recorded there in 1977.This is therefore, neither a complete list of all known doinas nor even of all existing doina types. Since the collection is quite extensive, however, I am confident that this taxonomy gives a view of the great majority of Doina types.

The Doina is always sung in free rhythm with varying degrees of embellishment and melisma.There are a number of tune types used for these semi-improvised performances of the doina. In this listing I have used the Romanian names for the type or sub type as given by the peformer, but at times I added my own observed description of the type based on similarity with others in the same category.The items in the list are each numbered according to the order of accession and thus the number is meaningless other than serving as a means of identifying each individual record. Many examples appear only with the type given as doina. Others have further descriptions based on origin, intent, tune type or function. For further clarification, I have added here, an unpublished article I wrote on the relationship of the Doine to Romanian urban popular music. Included in this listing are the locations of the recordings. The major cultural regions of Romania are Muntentia, Oltenia, Moldavia, Dobroghea, Banat and Transylvania. During the period of my research in Romania, it was not permitted to mention the names of these cultural and geographic regions, nor to describe their boundries. This was perhps out of fear of encroachment from Romania’s neighbors. The major traditional cultural regions are indicated in the map.The country was divided into smaller regions, like counties, and these were known as judet. The name of the judet as well as the town or city or origin are also given where ever known.

“”C.C. Rider” hit #1 on the R&B charts in 1957 and it started the dance craze,”The Stroll”. However, Chuck did not write the song. It’s an old blues standard first recorded by Ma Rainey in 1925 under the title, “See See Rider Blues”. “Rider” is supposed to be slang for prostitute and in the lyric “you made me love you, now your man done come” “your man” refers to the woman’s pimp. So, instead of being directed to a person named “C.C.”, the song is really an admonition to an anonymous prostitute to giver up her evil ways. ”

I heard about Noze through a myspace friend who does parties with Joe Hot Chip named GrecoRoman. Then roommate of Rvdim did an amazing party here with a few of the guys from The Circus Company: Ark and Mossa. http://www.monomood.com//audio/NozeLosBulgaros.mp3

I hate blogging about song lyrics but I loved this one where this 12 year old starts dancing as his plane is going down. It reminded me of the Central Park drum circle.

MANILA

On my Plane to Manila sit row to row The Flight staff served the courage again, When I heard the turbine go, Yerh Out of my window was a sunset, On the wings a funny glow, Then my seat started rattling, Assured that w

So i started to dance, Without wearing no seatbelts So i started to dance, Without wearing no life vest, I started to dance..

My plane noise went down, I heard the pilot talk regrets,That people didn’t panic, But they all stared at me,And they started to dance, Without wearing no seatbelts, we all started to dance, Without wearing no life vest, We all started to dance, It was quiet a ride.So i started to dance, Without wearing no seatbelts So i started to dance, Without wearing no life vest, I started to dance..

There’s also an electro housy Ewan Pearson remix which people like.

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Posted in duydum on January 9th, 2005 by na | | Comments Off on start dancing

Grab your coat and get your hat, leave your worry at the doorstep
Just direct your feet to the sunny side of the street
Can’t you hear that pitter pat and that happy tune is your step
Life can be so sweet on the sunny side of the street
I used to walk in the shade with those blues on parade
But I’m not afraid ’cause this rover, crossed over

If I never had a cent I’ll be as rich as Rockfeller
Gold dust at my feet on the sunny side of the street

With those blues on parade
Because this rover, it crossed over

If I never had a cent I’ll be as loaded as old Rockfeller
With that gold dust ’round my feet
On the sunny side of the street
On the side, at that side of the street that is sunny